Expressivity at the keyboards and violin in sonatas from Dussek to Beethoven 1780-1812

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“Historically informed” interpretation of works from the sonata repertory for violin with keyboard between 1780 and 1812, with theoretical instruction about the sources and historical practices, repertories, treatises, organology and an interpretation session (solo and duo).

> Faculty

> Places available for

> Presentation

> Method

> Practical instruction

> Theoretical instruction

> Calendar

> Fee Information

Faculty

Pierre Goy pianoforte and clavichord, professor at the Hautes Écoles in Genève and Lausanne, is intent on rendering the music of each era on the corresponding instrument. Winner of several international competitions, following workshops with Paul Badura-Skoda and Jesper Christensen, he joined Nicole Hostettler in founding a highly-acclaimed duo (2 pianofortes, harpsichords, clavichords) and plays regularly with Il Giardino Armonico. He organizes various workshops in early instrument performance in the context
of the Lausanne Bach Festival.

Liana Mosca violin, member of Il Giardino Armonico

Nicole Hostettler harpsichord and clavichord, Professor at the Haute École in Geneva

Hervé Audéon musicologist, CNRS – IRPMF Research Institute for French Music Heritage, specialist in 18th and 19th centuries

Thierry Maniguet, Jean-Claude Battault Musée de la musique, Paris

Places available for

› 4 violinists
› 4 pianists, keyboardists

master 1 level and aboveclasses in French, English, Italian

Presentation

The instruction, focusing on the repertory and practices of the keyboard sonata with violin between 1780 and 1812, is intended for keyboardists (pianists, harpsichordists, clavichordists, organists) and violinists. The corpus to be studied includes Mozart, Beethoven and their contemporaries, particularly N. Hüllmandel (a pupil of C. P. E. Bach), J. F. Edelmann (from the Gluck circle), J. L. Dussek, H. Jadin, D. Steibelt, I. Ladurner. The subject of tastes and practises that flourished in the great European centres (Paris, London, Vienna) will be taken up, revealing their specificities but also their interrelationships and influences. The significance of a Parisian corpus, dominant at the time but forgotten today, will make it possible to grasp the esthetic implications of the era (among other things the French influence in Beethoven).

Regular practise of early instruments is preferable; violinists should at least adopt gut for the two upper strings as well as a classical-style bow (possibility of loan during the sessions upon prior request).

Method

Classes will be given alternately as group lessons in the form of workshops and individual lessons.

Practical instruction

Learning the techniques connected with each early instrument and with their relationships; practise of the keyboard repertory with violin.

List of the proposed keyboards (not final)

› copy after Walter by Detmar Hungerberg
› square Erard 1802
› square Schiedmayer c. 1810
› 2 clavichords after Hubert by Thomas Steiner
› copy of Erard 1802 (Cité de la Musique, Paris)
› two-manual harpsichord

3 days of instruction at the Musée de la Musique in the Cité de la Musique in Paris will enable participants to “touch” exceptional historic instruments.

Theoretical instruction

Lectures followed by exchanges with the presenters and instructors on the following subjects: sources and historical pracises, repertories, treatises, organology.

Calendar

Audition

Monday 2 and Tuesday 3 April 2012

works to be presented: a sonata movement for keyboard and violin by Mozart or Beethoven; a sonata movement among a proposed list (Jadin, Dussek, Steibelt, Ladurner for whom scores are at the François Lang Music Library)

Sessions

from Saturday 16 through Tuesday 19 June 2012
from Wednesday 1st through Monday 6 August 2012

for 10 days of instruction

Public presentation

Fenêtre sur cour[s]

on Monday 6 August 2012 at 6 pm

Fee Information

The cost-sharing fee is made up of a compulsory registration fee (including membership in the Association des amis de Royaumont and access to the François Lang Music Library), tuition, and boarding expenses.

The Royaumont Foundation takes over expenses for accomodations (room, board and breaks) during the entire duration of the training.

An AFDAS agreement is pending for this session.

Financial aid for tuition

› for casual workers in the entertainment field (intermittents du spectacle): through the AFDAS under the following conditions: 2 years in activity, 48 fee units (days) within France, as attested by Congés Spectacles certificates and payslips.

› for salaried employees (full or part time): via their employers’ continuing education programs.
› for the unemployed: instructions available from the local funds or Pôle emploi.
› for RMI beneficiaries: via authorities in each département (Conseil Général) – contact the appropriate services for further information.
If you are eligible for such financial assistance, only the enrolment fee remains at your expense, that is in the amount of 174 €.

Scholarships

The Association des Amis de Royaumont grants scholarships to singers born after the 1st January 1984 and instrumentalists born after 1st January 1987 who do not yet have a regular professional activity.
This grant is made during Board meetings of the Association on the basis of a portfolio (resume, letter of motivation).
If you are eligible for financial aid from the Association des amis de Royaumont, a total amount of 174 € remains at your expense.

For participants who cannot qualify for any other financial aid, the Foundation grants scholarship stipends on request and based on a portfolio.
If you are eligible for this scholarship from the Association des amis de Royaumont, a total amount of 354 € remains at your expense.